Commodity fetishism, a term rooted in Marxist theory, encapsulates the transformation of human relationships into mere transactions between commodities. This phenomenon illustrates how the intricate web of capitalism obscures the human stories behind everyday products. When we reach for a box of cereal or a sleek smartphone, we often overlook the laborers—the South American farmers, the Bangladeshi textile workers, and the African cobalt miners—whose efforts are hidden behind the glossy packaging. Instead, we perceive only the product, valued in relation to other goods, as if by some magical sleight of hand, the individuals involved vanish from sight.
Call for the dead
In this context, let us consider Zero Parades, a game that I have sampled in its demo form. Is it good? Yes, it possesses merit, yet it remains ensnared in the shadow of its predecessor, Disco Elysium. Players step into the shoes of Hershel Wilks, also known as CASCADE, a spy for the communist “Superbloc” of People’s Republics, embarking on a mission shrouded in mystery.
Wilks is not without her flaws; five years prior, a critical mistake led to the demise of her entire team of comrades. Since then, she has languished in a place dubbed The Freezer, reminiscent of the infamous Slough House from Slow Horses, where the Superbloc relegates its failures. The narrative unfolds with a compelling blend of spy fiction, echoing the detached and somber style of John le Carré at his finest. Yet, one cannot help but notice the parallels to Disco Elysium: a hapless protagonist thrust into a mission amidst a world defined by stark ideological contrasts.
While Harrier DuBois, the protagonist of Disco Elysium, was a flawed cop, my experience with Wilks suggests she may possess a latent competence as a spy, despite her superiors’ doubts.
Charisma check
The similarities extend beyond narrative to gameplay mechanics. Zero Parades adopts the skill and check system that characterized Disco Elysium, with innovations that hint at a fresh approach. Players navigate three ability pools—physical, interpersonal, and intellectual skills—each with its own health bar. By exerting themselves on skill checks, players can gain advantages at the cost of health, introducing a layer of strategy reminiscent of D&D mechanics.
This evolution feels like a natural progression of the original system, infusing a sense of risk into each decision. The narration, however, diverges from the familiar bassy tones of Lenval Brown, instead featuring a unique, nasal feminine voice that oscillates between ancient wisdom and youthful mockery, offering a fresh auditory experience.
The dialogue remains sharp and engaging, showcasing ZA/UM’s ability to craft memorable characters, such as Constanz, a bourgeois rebel aligned with communism, and Petre, a flea-market music vendor with an eclectic classification system for his collection.
Accept no substitutes
Yet, the game often treads familiar ground. In my limited experience with the demo, Zero Parades does not transcend imitation; it frequently invites comparison to its predecessor. The humor and dialogue options sometimes feel like echoes of Disco Elysium, leading to a sense of déjà vu. For instance, when discussing her confinement, Wilks can adopt a “Superstar Cop” persona, declaring, “I was too cool; they couldn’t keep me down.” This moment feels less like character development and more like a nod to a beloved archetype from the previous game.
While it is essential to acknowledge that women can embody the same monumental flaws as men, the context of Wilks’ eccentricities raises questions about authenticity. The peculiarities that Harry DuBois exhibited were intrinsically linked to his identity as a male authority figure, a nuance that does not translate seamlessly to Wilks.
Instances of timid imitation arise throughout the gameplay. One early task involved repairing a fax machine, described in a manner that seemed to channel Disco Elysium without fully embracing its spirit. The narrative invited players to “pacify the machine spirit,” evoking a sense of a studio attempting to replicate its own legacy rather than innovate.
This experience evokes the feeling of a family gathering after a divorce—there are moments of joy, yet an undeniable absence looms large. While Zero Parades offers an enjoyable experience, it remains overshadowed by Disco Elysium and its departed creators. As long as this shadow persists, the game risks being perceived as a mere imitation, often a competent one, but never quite breaking free to establish its own identity.
